Music Journal January/February 2014

January/February 2014 Birmingham Contemporary Music Group Southbank Sinfonia bringing music from the Terezin concentration camp to life

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A range of scholarships and means-tested bursaries are available to assist girls to join us and parents are welcome to visit us throughout the year.

See our website for details of Open Events for entry to the Senior and Junior Schools. For a prospectus, or to make a private visit to the School, please contact the Registrar, Miss Janette Micklewright, on 020 7594 4982 or email, registrar@queensgate.org.uk.

Queen’s Gate Junior School 125-126 Queen’s Gate London SW7 5LJ

Queen’s Gate Senior School 131-133 Queen’s Gate London SW7 5LE

www.queensgate.org.uk

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Welcome The ISM was founded in 1882 to promote the art of music and maintain the honour and interests of the music profession. Today, this vision holds just as true and remains at the heart of everything we do.

So we look forward to an action-packed 2014.

Right: Deborah Annetts Photo: Mark Thompson

‘Promoting the art of music’ is at the core of our society and is wonderfully reflected in our two features this issue. Stephen Newbould tells us of the pioneering work of the Birmingham Contemporary Music Group, now in their 26th year, and James Murphy gives a moving account of the work with Southbank Sinfonia to bring music written in the Terezin concentration camp to a new generation of performers and audience.

This issue of MJ also contains details of our annual conference (see page 5) which will take place on 16-17 April at Birmingham Conservatoire.

Our President, Richard Hallam, has put together a lively and engaging programme of performance, debate and presentations on Music in the 21st century. You will find a booking form for the conference enclosed with this issue.

This year our annual general meeting will be held separately from the conference on 24 April in central London. The day will also include discussion on the key activities of the ISM and cover the work of our local groups and special interest groups (SIGs). You can read more about both the SIGs and local groups and find out how to get involved on pages 3 and 31.

And if you think you have the skills and specialisms required to join our Council – the ISM’s governing body – then we want to hear from you. We have vacancies for five new Council members. A nomination form, with further details about the application process, is enclosed with this issue.

May I wish you all a very happy and prosperous new year.

Front Cover Classical Indian instrumentalist Soumik Datta with composer Param Vir in front of Anish Kapoor’s sculpture Cloud Gate in Millennium Park, Chicago (See Birmingham Contemporary Music Group’s feature on pages 13–15) Photo: Stephen Burns

Contents 2 5 6 7 8 9

News & campaigns ISM Conference 2014 Professional development Business advice Legal help ISM shop

10 13

Music from Terezin Birmingham Contemporary Music Group

17 24 25

News from our members Classified advertising News from our corporate members Local events – reports Local events – listings Ask me a question

30 31 32

Volume 80 / Number 5 Published by: The Incorporated Society of Musicians 10 Stratford Place London W1C 1AA T: 020 7629 4413 F: 020 7408 1538 E: membership@ism.org W: www.ism.org Editor: Deborah Annetts Sub-editor and Production: Kim Davenport Gee

deborah@ism.org

All ISM publications are copyright Printed by Optichrome, Maybury Road, Woking GU21 5HX ISSN 0951 5135

Design: Cog Design www.cogdesign.com Advertising: Cabbell Publishing Ltd, Wimbledon Studios 1 Deer Park Road London SW19 3TL T. 020 3603 7940 E. jane@cabbell.co.uk Editorial copy date: 3 February for March/April issue Advertising copy date: 3 February for March/April issue Price: £6 per copy Subscription: £30 per year Circulation: 6,700 named recipients Views expressed in MJ are not necessarily those of the ISM. The publication of any advertisement does not imply endorsement of the advertiser or the product advertised.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

News & campaigns Message from the President

The ISM is moving to a new home

I write to thank everyone who contributed most helpfully both in person and in writing before, during and after our recent General Meeting (GM).

Minutes of that meeting are now available on our website at ism.org/members/general_meeting.

The ISM will be moving from Stratford Place to a new home in the heart of London.

A wide range of views were expressed. 67 members attended the GM in person. Some of these 67 members spoke passionately in support of the work Council has been doing, whilst other members strongly made the point that changes need to be made. Those members who had called the GM held 21 proxies and presented comments on behalf of members who could not attend. As President, I held 121 proxies and two further proxies were held by members of the staff team. All of these 123 proxies from members were in support of Council and its actions.

At the end of the meeting I undertook to ensure that the full text of all written communications would be copied to all Council members. These contributions were considered fully by Council at an extended meeting on 3 December. Some decisions were taken at the Council meeting. Other issues required further discussion and are being addressed over the coming weeks. Indeed, by the time you read this message in the January/February edition of Music Journal, you will see evidence of further progress by visiting the website at ism.org.

For members who are particularly interested in the matters raised relating to governance and due process, direct links to the relevant web pages have been and will continue to be circulated through our electronic news updates.

I send you all every good wish for a happy and prosperous New Year.

Richard J Hallam MBE ISM President 2013/2014 Above: Our new home in Inverness Mews Photos: Simon Kennedy

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The move to 4–5 Inverness Mews, London W2 3JQ means we will finally own our own home, important for the future security and prosperity of the organisation.

We’ve enjoyed a very positive relationship with 10 Stratford Place and its owners, the Royal Society of Musicians, over many years. However, having already expanded once within the building, the rented space is no longer suitable for the needs of our growing organisation, and a new home needed to be found.

Since the 1970s the ISM has, at various points, pursued the dream of owning its own premises and the move to Inverness Mews marks a significant development.

Inverness Mews offers a large, modern space with all the amenities a modern organisation requires and provides more space to hold events.

Further details can be found on our website at ism.org/news.

Letters after your name As a member of the ISM, you can now use letters after your name to recognise the status that comes with being a member of the UK’s professional body for musicians.

Member of the ISM: If you are currently a graduate, full or retired member of the ISM, you can use MISM after your name.

Fellow of the ISM: If you have been a member of the ISM continuously for 15 years or more, you are one of the select group who can use FISM after your name.

Student member of the ISM: If you are currently a student member of the ISM, you can use SMISM after your name.

There are also member logos for you to use, including the newly-designed ‘student’ and ‘fellow’ logos.

These are available to download from the members’ area of our website (ism.org/members).

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Your expertise and specialist knowledge matters ISM members are on the front line of the music profession. As leading composers, performers and educators, you will hear about issues affecting musicians before I do.

In almost every edition of Music Journal we ask for your views on everything from royalties, GCSE music and the National Curriculum through to copyright reform and live music regulations.

There are three Special Interest Groups and these came into existence in 2012.

They identify the issues which are important to the different strands of the profession for the ISM to take forward. These Groups are also consulted on detailed policy work and how we should respond to Government and other stakeholder consultations.

The Composers Special Interest Group recently led the way in discussions on the future of the British Music Collection, the role of PRS for Music in collecting royalties from performances of new music, and the roles and responsibilities of publishers, labels, performers and composers in promoting new music. You can find out more about their recent work in the News & Campaigns section of Music Journal.

The Performers Special Interest Group performs a similar task, looking at everything from fair orchestral contracts and the implementation of the Live Music Act through to instrument passports and recording royalties.

Finally, the Educators Special Interest Group has helped develop the new plans for GCSE music and in the last year had a direct impact on the new National Curriculum for Music in England, ensuring that technology and creativity were included.

The vast majority of ISM members are portfolio musicians (73% at the last count). It is likely that you will have a range of issues you would like these Groups to consider. Please let me know if you have a policy issue you would like any of these Groups to consider. And please remember that these Groups can only be as good as the input of members so please do contact me on 020 7079 1207 or by email at henry.vann@ism.org.

If you would like to join one of the Special Interest Groups to play a more active role in the work of the Society, please email me so that I can discuss the Group and how it works in greater detail with you.

Henry Vann Public Affairs & Policy Officer

Help save Llandaff Cathedral Choir Llandaff Cathedral plans to shut down its professional choir due to a budget deficit. The choir, which has appeared twice on the BBC’s Songs of Praise this year, would lose all its professional singers under the proposals.

We want to help the Cathedral come up with an alternative plan that will help it deal with its financial problems and secure the long term future of the choir.

We have written to the Archbishop of Wales and are gathering support for the choir from across the UK. If you feel able to support the choir or want to join the campaign to save one of the last professional cathedral choirs in Wales, you can read more at savellandaffchoir.weebly.com.

First outcome from the ISM Composer Round Table The ISM Composer Round Table met on 27 September 2013 and discussed the challenges facing contemporary composers extensively.

As a result, we have met with PRS for Music following discussions with the Composer Special Interest Group in a piece of work looking at how they can better support individual contemporary composers.

PRS for Music have now confirmed to us that they will be employing a dedicated contemporary composer account manager to look after the interests of professional contemporary composers.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

No news on music education funding The Department for Education (DfE) have still not said whether music education hubs will be funded from April 2015.

This date is less than 18 months away: it is becoming increasingly important that the DfE commit to funding these hubs. The hubs are a critical part of the music education world in the UK, giving pupils access to musical opportunities that they may not otherwise have the chance to experience.

You can find out more at www.protectmusiceducation.org Tell us why music matters to you at protectmusiceducation.org We are gathering together stories of the excellent work of music educators – private teachers, classroom educators or peripatetic and visiting music teachers – on the protectmusiceducation.org website and want to hear from you.

Performers royalties election results PPL is the collecting society responsible for the collection of royalties for musicians in recordings.

It is important to join if you have been recorded as a performing musician as they claim royalties on your behalf every time your work is broadcast or played in public.

The performer members of PPL have recently elected two new members, Crispin Hunt and Mark Kelly, to the performer board.

If you are a performer member of PPL, we want to hear about your experiences collecting royalties: you can contact our Public Affairs & Policy Officer, Henry Vann on 020 7079 1207 or by email at henry.vann@ ism.org.

Musical instrument passports Some musical instruments contain materials that are banned from travel within the European Union; for example some guitars use Brazilian rosewood and some bows contain ivory.

As a result, some professional musicians are being stopped from travelling with their instruments.

In order to resolve this, it has been proposed that musical instrument ‘passports’ be created to enable easy travel for professional performers. We have responded to a consultation, working with the International Artists Managers Association (IAMA) and others on these proposals and we are now awaiting further details.

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GCSE music is being reformed – tell us what you think!

We want to know what you think of the current GCSE qualification in music.

Back in 2012, we began the process of GCSE reform to ensure that music would survive the Government’s EBacc reforms.

Following the Government’s u-turn and further redrafts of the GCSE subject guidelines for music from the wider music education community we – as the largest subject association for music – are now consulting on GCSE music.

Unique opportunity to help define the future of GCSE music: What do you think should be included in a music GCSE? We want to know your views and we need as many responses as possible. It just takes a few minutes to respond at ism.org/GCSE

Ofsted’s report on hubs Ofsted published an important report on music education hubs on 15 November 2013. The report criticised the progress made in embedding the work of music education hubs in schools.

In an unfair reflection of the report’s contents, Ofsted’s initial headline read ‘Music Hubs Fail’.

The report itself was mixed, with some unhelpful comments being made.

However, the offer from Ofsted to help challenge schools that are not engaging with music education and the commitment to ensure that all Ofsted inspectors are trained to be more aware of the requirements of the National Plan for Music Education in England were welcome.

The ISM has published a useful two page summary of the report to help challenge and support school leaders, music educators and hubs. The summary can be found on our website at ism.org/news.

Did you know?

Our advocacy work on behalf of the music profession has been shortlisted for national campaigning awards in 2013

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

ISM Conference 2014 panel debate will focus on the Sistema model and investigate how social change can be brought about through excellence in music. This debate, chaired by the ISM’s President Richard Hallam, harnesses the knowledge of panellists Marshall Marcus, CEO of the European Youth Orchestra and Trustee of Sistema England; Peter Garden, Executive Director, Learning, Royal Liverpool Philharmonic; Andrea Creech, Institute of Education and Eileen Ross, Headteacher, Herbert Morrison Primary School, Lambeth.

Above left: Julian Jacobson Photo: Roger Harris Above right: Julian Lloyd Webber Photo: Simon Fowler/EMI Classics

Performers and performance are, as ever, at the heart of the ISM conference and this year delegates will be treated to a world premiere performance of a new ISM commissioned work from composer Kirsty Devaney. Additionally, a session with composer Jim Aitchison will focus on the changing contexts of Music in the 21st century composition, whilst a masterclass on contemporary Wednesday 16 – Thursday 17 April 2014 piano repertoire with Julian Jacobson (performed Birmingham Conservatoire by students from Birmingham Conservatoire) will lead into a series of practical workshops on group Music in the 21st century is put under the spotlight improvisation, aural perception, private teaching and at our next ISM Conference to be held at Birmingham Conservatoire on 16 and 17 April 2014. The conference technology to be led by Pete Churchill, Lincoln Abbotts and others. offers a range of seminars, expert talks and debates, trade exhibition and networking opportunities for A booking form is enclosed in this issue of MJ. You music professionals to share views, experiences and can book to come to the whole conference or single hear from a wide-range of experts from across the days and you can get an early bird discount if you music industry. book before 14 February. Or you are welcome to book The first of two panel debates is chaired by Professor for individual events if you wish. Prices for a single Sue Hallam of the Institute of Education and explores session start at £15. For further information or to different aspects of music in the 21st century. The discuss your individual booking requirements, please panellists Mark Burke, Director, Charanga; Martin call 020 7629 4413 or email membership@ism.org.

Fautley, Professor of Education, Birmingham City Go to ism.org/conference for further details and University; Jo Johnson, Senior Digital Marketing updates of speakers and sessions.

Manager, London Symphony Orchestra and Dominic McGonigal, Chairman, C8 Associates will discuss how performance, composition and pedagogy operate in today’s landscape and what new opportunities are available through the application of social media and technology.

Accommodation is not included in the conference fee.

Our conference hotel will be Jury’s Inn on Broad Street in Birmingham – approximately 5 minutes walk from the Conservatoire and also the venue for our annual dinner on the Wednesday evening. Single and twin/ The ‘big interview’ will feature cellist, music education double en-suite rooms at Jury’s Inn are available on Tuesday 15 and Wednesday 16 April at a discounted campaigner, Founder and Chair of Sistema England rate of £65 per room per night (single occupancy) and – Julian Lloyd Webber. A passionate and proactive £75 per room per night (double/twin occupancy), advocate that music education should be available including VAT and breakfast. Rooms can be booked by for all children, Julian will be in conversation with calling us on 020 7629 4413. Rooms will be let on a journalist and writer Clare Stevens. Later a second first-come, first-served basis, so be sure to book early.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Professional development Inspiring Success A day for instrumental and vocal teachers 27 January 2014, 11am-4pm, at The Forge, 3-7 Delancey Street, Camden, London.

This day will be specifically targeted to the needs of the private music teacher. Delegates will have the opportunity to take part in an innovative workshop on musicianship and improvisation led by Trinity Guildhall’s former Music Syllabus Manager, Ben Norbury, hear ABRSM Chief Examiner, John Holmes, give an insider’s guide to getting the best exam results out of pupils, learn how to motivate students with an inspirational teaching workshop with Sally Cathcart from the Voices Foundation and gain valuable networking opportunities with fellow music teachers from across the country.

Above: Dame Felicity Lott

An evening with Dame Felicity Lott Interview, recital and drinks reception 25 February 2014, 7pm–9.30pm, at The Forge, 3-7 Delancey Street, Camden, London.

Celebrating world-renowned opera singer Dame Felicity’s 40th year as an ISM member, this very special evening will delve into her acclaimed and illustrious career as a performer with many of the world’s leading opera companies and at some of the most iconic venues. The evening, held in the modern surroundings of The Forge arts venue, promises to be a truly unique experience with an interview and performance by Dame Felicity — an absolute treat as November 2013 marked her last ever Wigmore Hall solo recital with Graham Johnson. We will end the evening with a drinks reception.

The event will cost £30 for members and £45 for non-members, which includes a drinks reception.

To book your place, contact Rebecca Mair on rebecca.mair@ism.org or call 020 7079 1201 by 18 February.

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The cost for the day is £45 members, £60 nonmembers. Lunch and refreshments are included.

To book your place, contact Rebecca Mair on rebecca. mair@ism.org or call 020 7079 1201 by 20 January.

Webinars Our once-monthly series of webinars will start on 26 February at 12pm with a one-hour presentation on Child Protection & Safeguarding. This webinar will be presented by our Head of Legal, David Abrahams, and include a question and answer session.

On 26 March at 12pm our Essential Business Skills webinar will cover accountancy.

The webinars will offer members the chance to access key professional development opportunities from home. If you can’t join us live then you will be able to access the webinar at a later time on our website.

The webinars have been designed to complement our existing seminars in order to enhance the range and accessibility of opportunities available for members.

If you would like to take part in the webinars, you may register via our website at ism.org/training.

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Business advice Our help with your personal affairs

Your finances

In these grey post-Christmas weeks, you may be worrying about the state of your finances. If you are finding it difficult to cope financially, our partners the If you are still racing to complete your tax return by the 31 January deadline, you may find help in our new debt advice charity StepChange can help you draw up a personal budget plan tailored to your needs online service tailor-made for musicians provided and which brings your spending into line with your in partnership with HMRC. This includes information income. If you are struggling with heavy debts, their about the new simplified system for claiming taxteam of debt specialists can help you get back on allowable expenses and about what expenses and track. They will help you work out the best solution capital allowances you may set off against tax. You for you, help you to negotiate with your creditors on can access this service via the ‘business and tax’ your behalf and help you set up a repayment plan. To section of our website. contact StepChange, call the ISM and we will put you Remember also that accountants LB Group will straight through to one of their debt advisers. If you complete your tax return for you for a cheap flat rate prefer, you can call their helpline directly at 0800 138 of £120 plus VAT. You will find their contact details on 1111 or contact StepChange online using their Debt our website.

Remedy tool.

In addition, our 24-hour tax telephone helpline is If you feel the need for some financial assistance from there to deal with your tax queries at any time. our Members Fund, you can find out on our website about the types of help the Fund can offer and how The ‘business and tax’ section of our website contains other helpful tips on tax-allowable expenses to apply. Alternatively call me on 020 7079 1210 for a completely informal and confidential discussion about musicians may claim, effective record-keeping and possible solutions to your difficulties. planning ahead so that you meet HMRC’s deadlines.

Tax

Your health

Counselling

Other online advice pages offer advice on health and lifestyle issues for musicians. Go to the ‘health and wellbeing’ section for tips on how to cope with the stresses of touring, how best to practice in a way to avoid long-term physical problems, statutory regulations designed to protect musicians against hearing loss and where to go for further help on health issues affecting musicians. You will also find details of the discounts on hearing services and equipment offered to ISM members by Musicians’ Hearing Services.

Finally, to help with personal emotional issues, you and your families have access to our 24-hour telephone counselling helpline, provided by an independent organisation and paid for by the ISM Members Fund. You can speak to a trained professional counsellor at any time of the day on every day of the year by simply calling 0800 042 0136. Calls are completely confidential.

For a full list of our online advice pages go to www.ism.org/advice/contents.

Caroline Aldred, Head of Members Fund Operations and Business Support Officer, ISM

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Legal help Problems with performer royalties We are keen to hear from performer members who have experienced difficulties obtaining royalties from record companies. We are aware of particular problems with older recordings where the original contract may have been lost or be silent in relation to the latest developments in the music industry (such as digital downloads). We know that some members have had particular difficulties in situations where the original record label may have been taken over by another record company. In some cases there may have been more than one takeover. Other common problems are incomprehensible royalty statements and a lack of clarity about the way that royalties are calculated. If any of these issues affect you, or you have any other difficulties in relation to royalties or recording companies, we would be delighted to hear from you and will do our best to help resolve the problems.

Legal help is always at hand Our legal team (David Abrahams, Head of Legal and Peter Lappin, Legal Advisor) are always happy to assist members with issues relating to copyright, royalties, contracts, employment issues and unpaid fees. Members can contact us by telephoning 020 7629 4413 or by emailing us at legal@ism.org.

Our members really value the service that the legal team provides. Here are some recent comments we have received.

‘It is such a relief to feel I have someone to help me with all this trauma. Thank you, more than I can say.’

‘Thank you for your indefatigable representation at my recent grievance meeting. I am so grateful for your efforts on my behalf.’

One of our members recently received a settlement of several thousand pounds in relation to a longstanding holiday pay claim. The member would never have been able to bring the claim without the support of the ISM legal team and the backing of our legal expenses insurance policy.

24 hour legal helpline In addition to the help provided by the legal team, ISM members also have access to the 24-hour legal helpline, covering all areas of law (including both personal and professional matters) as well as tax advice. The helpline number is 01206 368994.

Leaving a gift to your Society will help us continue to protect the music profession These are difficult times. The care and support, legal advice, and professional development we provide to our members has never been more important or indeed more appreciated. Our campaigning work to safeguard your profession has never been more vital. We need to make sure that the Society will be able to carry out its important work on behalf of members and the music profession for many years to come.

We need your help to continue to promote and protect the art of music and to support musicians. So please think about leaving a gift to your Society.

You can find out more at ism.org/giving or call Natalia on 020 7079 1218.

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

20% member discount

ISM shop We launched a new online gift shop in November 2013. As an ISM member, you are entitled to a fantastic 20% discount on all gifts listed, simply go to ism.org/shop, select the gifts you’d like to buy and enter the code ISMMEMSHOP at checkout.

ISM silver stick pin badge – Gorgeous, silver plated ISM pin badge – a perfect gift for you or a fellow musician! The pin badge comes complete with its own leatherette presentation box. £10.00; member price £8.00

Our ISM branded range of gifts are perfect for members wishing to celebrate their membership, or alternatively purchase as gifts for your music students and friends alike.

ISM pencils and case – Six ISM pencils with rubber in a lovely ISM branded tin. Perfect gifts for your music students and fellow musicians. £11.00; member price £8.80

Our hugely collectible Thomas Tallis range gives you a wonderful link to ISM history through extracts from an adaptation of Spem in Alium which was performed

by ISM members at our conference in 1898. This particular adaptation has only two known printed copies in existence, one of which belongs to the ISM.

ISM range

ISM mug – Perfect for all occasions, this ISM branded china mug celebrates your membership of the Society for music professionals. £7.50; member price £6.00

Thomas Tallis range Historical Thomas Tallis tea towel – Perfect to collect or use, this cotton tea towel is decorated with a piece of ISM history – part of Thomas Tallis’s Spem in Alium performed

by ISM members at our conference in 1898. £7.50; member price £6.00 Historical Thomas Tallis mug – highly collectable elegant bone China mug in classical design, decorated with a piece of ISM history – part of Thomas Tallis’s Spem in Alium performed

by ISM members at our conference in 1898. £8.50; member price: £6.80 All prices are inclusive of VAT but are exclusive of postage and packaging.

ISM Cross pen – Satin lacquers and bright chrome, engraved with the ISM logo and supplied in a lovely gift box with a life time guarantee. This sleek and efficient pen is perfect for music professionals. £22.00; member price: £17.60 ISM leather folder – Beautiful quality, this leather black A4 Balmoral conference folder is embossed with the ISM logo on the front. Perfect for inserting sheet music and meeting notepads alike. £25.00; member price: £20.00

You can buy any of these products by going to ism.org/shop. Alternatively, you can call, free of charge on: 0800 1814233 to make your order.

If you would like us to create more branded gifts, please send through any suggestions on the ‘Contact us’ page on the website.

Happy shopping!

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Music from Terezin Southbank Sinfonia’s Managing Director, James Murphy, shares with us their journey to bring to life some of the music written in the Theresienstadt (Terezin) concentration camp.

Above: A group outside a barrack at Theresienstadt Photo: Courtesy Jewish Museum London

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At Southbank Sinfonia, we want to ensure the great orchestral tradition flourishes for many more generations to come. What’s more, we want to populate the profession with players who are open-minded, inquisitive, who never lose their love for music, and keep finding new ways to unlock its power and resonance. This means not just playing Beethoven, Haydn and Mozart brilliantly (something we love and do a lot), but also encouraging our young players to be explorers, to delve into repertoire that history may have swept by, to recognise their own responsibility in bringing that back to light and making a case for why it still matters. A group of our players had this opportunity earlier this year, thanks to Southbank Centre’s spectacular festival The Rest Is Noise.

When I read the Alex Ross book which inspired the festival, the chapter that struck me most powerfully concerned Terezin. As the Holocaust wrenched people from their everyday lives and customs, many found themselves incarcerated in this Czech garrison town. Not a death camp in itself, Terezin was more a vast overcrowded waiting room. From here, inmates were despatched to other camps further East from which nobody ever returned. Those interred at Terezin spent their days labouring for the Nazi regime. The routine was punishing, and failure to fulfil your brief guaranteed a one way ticket to a worse fate in the East.

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

In this bleak setting, the most unlikely thing occurred. People began to sing. People began to recite poetry. People began to act. Instruments, secretly stashed among those few belongings salvaged from home, began to emerge. To the surprise of their captors, the inmates chose not to revolt, but to make music, to make art.

This story stayed with me so, when Gillian Moore and her intrepid team were programming the festival inspired by the book, I asked if Southbank Sinfonia could bring to life some of the music written at Terezin. Make no mistake: we aren’t by any means the first to champion it – the Nash Ensemble and violinist Daniel Hope are among its equally fervent exponents – but it felt important that the next generation of players, the Southbank Sinfonia members in their twenties, also embrace this music, this fascinating cultural cargo, and ensure its safe passage long into the future.

Above: Theresienstadt camp entrance with the sign ‘work makes free’ Photo: Philip Walker

The music from Terezin isn’t simply a souvenir of a dark time. Think not of John Williams’s lush sentimental violin theme that underscores Schindler’s List. The music from Terezin has astonishing integrity. Among those captive were most of the Czech Republic’s artistic firmament. Among the composers were students of Schoenberg like Viktor Ullmann and others destined to take forward the Czech music tradition

from the likes of Janáček. Robbed of everything else, they still had their talent. Astonishingly, the Nazis let them write, seeing the scope for propaganda: here they could pretend Hitler was being humane, using this scene of productivity to mask the mass extermination at camps elsewhere.

Such was the urge of the inmates to express themselves creatively, Terezin became arguably the most artistic centre in occupied Europe.

Hans Krása, in his 40s, took overall charge of musical activities which included such audacious feats as a performance of Verdi’s Requiem. Viktor Ullmann, the same age, even wrote and staged an opera The Emperor of Atlantis while he was there. Gideon Klein, in his early 20s, was put in charge of chamber music, writing his remarkable Trio only days before deportation to Auschwitz. In all their works, you can feel the sorrow and unease of Terezin, and yet their music is never sentimental. All three hark back to the world they left behind: the waltzing romance of Krása’s Passacaglia, the wistful folksong in the central movement of Klein’s String Trio, the bustling café culture echoed in Ullmann’s Quartet No 3. Yet their music also has a steadfast resilience, a restless rhythmic energy and adventurous tonality that maintains the pace set by the likes of Berg and Bartók who they may one day have equalled in repute had fate not eclipsed their potential.

Continued overleaf

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Above: Players from the Southbank Sinfonia bring to life the music from Terezin Photos: Belinda Lawley

In order to give our players the fullest immersion into this most potent music, we didn’t just hand them the scores. We were fortunately able to introduce them to Zdenka Fantlova, a remarkable woman who survived Terezin and has documented her experience there in the powerful memoir The Tin Ring. Southbank Sinfonia player Jennifer Coombes says, ‘One of the things that moved me most about the project was meeting Zdenka and hearing first hand stories about the camp and the lives of the people who were living inside. It was especially moving to hear about the composers and performers of the pieces we were playing, making the whole project a lot more personal for all of us involved. It’s important to keep these events fresh in people’s mind so performing the fantastic but little-known music of these composers was, for me, a huge privilege.’

Fellow viola player Joe Fisher says ‘Playing music from Terezin was a real eye/ear opener for me. Before it, I was not aware of these composers and the works they created, but after first rehearsing the Hans Krása and Gideon Klein’s string trios, I was eager to find out more. To me, the music resembled the rhythmic power of Bartók and lyrical genius of Dohnányi, and I was shocked how little it has been heard. It was an honour to meet Zdenka too. After the concert, we stayed with her the rest of the evening, listening to her stories and tales from her time in the camp. Hearing her testimony felt almost like we had connected with the composers themselves – it’s a memory I will cherish forever.’

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Having shared the music with an appreciative audience at the festival, the players proceeded to the Jewish Museum in Camden where they shared it again with students from the City of London School for Girls and Southbank International School, giving them a whole new perspective on their studies of the Holocaust. This is the beguiling thing whenever you make a musical discovery: you just have to share it with others. Such was the potency of this experience that I have no doubt Jennifer, Joe and their fellow musicians will keep sharing this music, long after they have left Southbank Sinfonia. They are advocates now for another group of musicians whose voices were cut short in one of the darkest moments of recent history.

Gideon Klein, Hans Krása and Viktor Ullmann were all transferred from Terezin to Auschwitz where they were killed. Who knows what they would have become had they lived. By good fortune, the music they wrote in their final years survives. It’s our role to commemorate them not as victims but as great artists who wrote music of astonishing integrity and grace.

James Murphy, Managing Director, Southbank Sinfonia www.southbanksinfonia.co.uk www.jewishmuseum.org.uk

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Birmingham Contemporary Music Group BCMG recently celebrated its 25th anniversary. Artistic Director, Stephen Newbould, tells us more about the group’s recent and forthcoming projects and programmes.

I arrived in Birmingham to work for the CBSO in the mid-1980s when Simon Rattle was electrifying audiences with his adventurous programming.

BCMG was a product of this exciting time, the idea of CBSO cellists Ulrich Heinen, who plays with us still, and Simon Clugston, our founding Artistic Director. Simon Rattle lent his support as Artistic Adviser in the early days, conducting the ensemble regularly during his time at the CBSO, both in the UK and on tour in Europe and America, and he retains a link as our Founding Patron.

Above: A BCMG family concert Photo: Robert Day

We celebrated our 25th anniversary in 2012/13, with a host of premieres beginning at the BBC Proms, with Simon Bainbridge’s The Garden of Earthly Delights, and ending at the Aldeburgh and Cheltenham Festivals, introducing new works by Charlotte Bray, David Sawer, Magnus Lindberg and Elliott Carter. Every new piece is special, but the unveiling of Carter’s Epigrams was particularly moving. Carter died in 2012 a month short of his

104th birthday, and this great figure’s final work, a piano trio, signs off with a single note, passed between its three performers – a touching farewell to music.

From the beginning an overarching principle in all our work has been to put the composer first.

Whether launching a new piece (BCMG has commissioned over 160 to date) or reviving a 20th century classic, the aim is to get as close to the composer’s intentions as we can, and perform the music to the very highest standards. This principle extends across to our Learning and Participation programme, where the composer might be 8 years old – young people now create over 100 new pieces of music through BCMG projects each year.

Our learning programme has burgeoned over the last 15 years under the direction of my colleague Nancy Evans. As a small company we will never reach the tens or hundreds of thousands of participants that a large company can; instead we Continued overleaf

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Above: Param Vir will work with Soumik Datta on his new sarod concerto for BCMG. Photo: Stephen Burns

can work intensively and with great impact with smaller numbers and at a more strategic level.

Nancy and her team have developed coherent pathways for young composers and performers of all ages to engage with BCMG composers and players, creating new work in and outside formal education. This includes partnerships which are influencing policy and practice at national level, such as those with Sound and Music – for example exploring the pedagogy of teaching music in secondary school. With Sound and Music we also run an annual Apprentice Composer-in-Residence project, part of their Embedded programme and funded by The Leverhulme Trust. This gives an emerging young composer, currently the young Japanese composer Shiori Usui, unparalleled opportunities to engage with our work over a year, writing for different instrumental combinations in a supported environment.

It’s perhaps obvious, but in commissioning new works, the aim is to enable the composer to write the piece they really want to write. The beauty of BCMG’s close relationship with the CBSO – we are independent companies but draw around half our players from the orchestra – means we can give composers a wider palette than if we had a rigidly fixed line-up. So when American composer David Lang told us some years ago that the 15-minute piece for 15 players that he was writing for BCMG really needed to be a 40-minute piece for 8 cellos, a symphonic brass section, 4 percussionists and women’s chorus, we could be true to our mission and call on the wider CBSO to field this rather different team. The result was one of David’s finest and most profound pieces, The Passing Measures, an elegy for a lost friend and colleague.

It’s an irresistible moment when a composer says ‘the piece I really need to write is this’ – and you realise you have to strain every sinew to help make it happen. It happened with David Sawer’s ambitious stage work Rumpelstiltskin, for which we had to build a full-scale production company in 2009 and which we plan to revive along with its double-bill companion The Lighthouse Keepers in summer 2015, in partnership with the Royal Opera House’s Linbury Theatre; on a smaller scale it happened with Tansy Davies’s piano concerto Nature, which we premiered under our Artist-inAssociation Oliver Knussen in 2012. BCMG has been playing Tansy’s wonderfully vivid music for a decade, and a couple of years ago she came to us with a strong conviction to write for the unique talents of Huw Watkins, a brilliant pianist as well as composer. Nature is one of her very best pieces, and I’m delighted that we will repeat it under Knussen’s baton next May in a programme which

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also celebrates Harrison Birtwistle’s 80th birthday year.

Perhaps the best case in point though is once more with David Lang, who this season stretches us more than ever, with a unique creation and our most unlikely commission, Crowd Out for 1,000 voices – whispering, chanting, singing, shouting, which we will premiere under renowned choral director Simon Halsey’s baton with a vocal supergroup of all-comers in June 2014 at Birmingham’s Millennium Point. This piece is a long-held dream of David’s and it clearly needed commissioning, so we took a deep breath and our players will shout and chant instead of play their instruments! This is one of those unclassifiable pieces which sits happily both as a full-scale artistic project and a giant participatory event, bridging what is often a yawning divide between the ‘professional’ and ‘non-professional’ in music-making. In fact, it’s one of a number of projects we’ve undertaken with professionals and non-professionals working together, including a memorable event featuring Luciano Berio’s Accordo for 4 wind bands and Salvatore Sciarrino’s The Mouth, the Feet, the Sound for 100 saxophones.

I love the unpredictability of working with composers, being taken in new directions and into new territory. This can mean going far out of the comfort zone, as with Crowd Out which presents new challenges for the BCMG team and for our willing partners at Spitalfields Music and the Berliner Philharmoniker Education Department, who will respectively give the London and German premieres with home-grown 1,000voice crowds next June. But this is surely only doing what the composers are doing themselves, in struggling to create something new and worthwhile.

Another composer pushing himself into new territory is Param Vir, who left his native India as a young artist in the 80s to study composition with Peter Maxwell Davies and Oliver Knussen.

Since then he has created a striking body of work, which although in a western contemporary harmonic language, is informed by his interest in world philosophies and religious and mythical iconography. He’s written twice for BCMG before, and his next work has emerged from a desire to draw something new from his dual heritage of Indian and Western classical musics. His sarod concerto for BCMG will be a new departure for him, bringing a classical Indian instrumentalist (the brilliant young UK-based musician Soumik Datta) alongside a western ensemble. Param Vir’s considered approach seems to me the antithesis of ‘crossover’ and promises something intriguing

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Above: BCMG performing David Sawer’s The Lighthouse Keepers Photo: Alastair Muir

and important. Nicholas Collon will conduct the premiere in October 2014, but before that in the spring we will have some early try-outs of sketch material for the soloist and a small group of BCMG players.

One of the legacies of my visionary predecessor Simon Clugston was his brilliant idea Sound Investment, through which a family of individuals joins together to support each new BCMG commission. This beautifully simple idea has raised £300,000 for our commissioning programme over the years, with each new work supported by as many as 50 Sound Investors.

This has not only unlocked a crucial new source of finance for the creation of new work, but as importantly it has opened up a channel for enthusiastic music lovers of all kinds to engage in the process of commissioning and share the thrill and excitement of the journey. Our Sound Investors quickly become friends, attending rehearsals, sharing tea-breaks with our players, encouraging their supported composers and following their work elsewhere. It has been heartening to see this approach adopted widely elsewhere.

Sound Investment has not only given us greater confidence and courage in commissioning, but has also opened up wider individual giving to other projects. We were delighted to secure Catalyst funding from Arts Council England last year, to help us increase further our philanthropic income.

We start from a strong base with private giving at 22% of total income, double the national average for arts companies outside London.

That said, for a company like BCMG supporting creativity at the sharp end and building audiences and participants for new work, strong public investment remains an essential part of the mix, and I believe that the system of plural funding for the arts that has developed in the UK is what helps make our cultural life so vibrant.

The current pressure on public investment, at local and national level, is a matter for grave concern. The ideal has to be public and private working together.

We have a busy Spring coming up, presenting essential contemporary music to diverse audiences in many settings – from our everpopular family and schools’ concerts, for which we collaborate with Stan’s Cafe theatre company and the Modified Toy Orchestra; to tours of rural Shropshire and Herefordshire where we unveil co-devised new work by composer Howard Skempton and textile artist Matthew Harris; and further afield an exciting week’s residency in April at the Library of Congress, Washington DC with Artist-in-Association Oliver Knussen. Further ahead, the future is what composers will make it!

Stephen Newbould, Artistic Director, Birmingham Contemporary Music Group www.bcmg.org.uk

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

NEWS FROM OUR MEMBERS We welcome your brief news (max. 150 words) and good photographs.

Please email mj@ism.org. The next deadline for copy is 3 February for March/April issue.

The effects of improvisation on performance anxiety

Above: Eleanor Hodgkinson

Music theory the fun way Keen to make learning music theory fun, Susan Leigh has joined up with zondle to create a games based pack of theory resources, playable online or on zondle’s mobile app. Starting at beginner level and progressing to ABRSM grade one, it includes sets of questions to play in games like Penalty Shootout or Bat The Rat, as well as step by step tutorials and printable worksheets.

Available for both students and teachers, the latter can make use of extra features including the ability to add an unlimited number of students, keep track of scores in the Gradebook, and reward progress with online badges/certificates. Team Play by zondle is also ideal for teaching music theory to whole classes by putting students into teams to answer quiz questions.

Pianist Eleanor Hodgkinson has been researching the effects of improvisation on performance anxiety. Forming the dissertation requirement for the MA in Psychology for Musicians at Sheffield University, the study comprised a questionnaire in addition to detailed interviews with professional performers. Jazz, classical and baroque specialists were asked about their views on performance anxiety, creativity and improvisation leading to insights that could be of benefit to performing musicians of all genres. Both as a performer and teacher, Eleanor has been enlightened and influenced by the research and would welcome members’ opinions or questions. info@eleanorhodgkinson.co.uk Please see Eleanor’s full article in the features section of our website at www.ism.org/news/features.

Anne Applin & Geoffrey Pratley

In a year of recitals, tutoring courses and duet days, adjudicating competitions and performing as the classical musicians on board cruise ships, for piano duettists Anne Applin and Geoffrey Pratley a highlight of 2013 was giving a performance of the Concierto Folklorico, written for them

by John Carmichael OAM. This time in Lancaster with the Haffner Orchestra, More information and screenshots Justin Doyle conducting, and received can be found at www.learnatune. enthusiastically by a full capacity co.uk or purchase the pack from www.zondle.com/marketplace (GCSE audience. The composer took part, with Anne and Geoffrey, in a music revision pack also available). pre-concert talk.

Among their recitals was one at Leeds University, as part of the centenary celebrations of the University’s International Concert Series.

Anne and Geoffrey’s first Piano Duet Weekend course will be 26-28 March at Sedbergh.

For details of any of the above or other future events, please visit www.piano-duet.co.uk, email info@piano-duet.co.uk or call 01223 240418.

John Ogdon plays John Ogdon Brenda Lucas Ogdon writes: A new CD has been released of John Ogdon performing his own compositions in a concert at the Musical Arts Centre, Indiana University, USA on 15 April 1979.

Produced by David DeBoor Canfield, the CD features Ogden’s Piano Sonatas Nos 2 and 3, Theme and Variations, Variations & Fugue, Varlaam’s Song, Dance Suite and Sonatina.

John Ogdon plays John Ogdon (ENCD13-023: Enharmonic Records) is available through Amazon and Arkiv Music.

A BBC documentary, John Ogdon – Living with Genius, will be broadcast in May 2014 on BBC 4. A concert in London in May will be filmed for BBC 4 and also simultaneously broadcast on BBC Radio 3.

Continued overleaf

17

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Above: Avril Thompson’s History Showtime series

History Showtime History Showtime is a new series of four KS2 books bringing history to life, written by Liza Phipps with songs composed by Avril Thompson.

The colourful presentation of the books features a fun combination of historical information, craft work, drama and music for Ancient Egypt, Vikings, Romans and Ancient Greeks.

two years. On 6 November 2013, he finished the seven rural deaneries in the Northern Archdeaconary, clocking up the 128th organ in Glossop. He is now looking forward to arranging the final nine rural deaneries and 148 organs in the South.

At each church, Peter aims to play a short programme of three works, a short prelude and fugue by Bach, followed by two pieces from the English romantic repertoire to show The four songs printed in each book off the colours and sounds that each have instrumental backing tracks organ can produce. His audiences which can be downloaded, with or have sometimes included parties of without the choir, together with the piano vocal score and lyrics. The songs nursery and school children. are also part of a short play suitable At the end of each concert, a for class ‘sharing assemblies’ and collection is taken to support two are an ideal way of remembering charities in equal measure, one for much information. Teachers, with or the restoration of the cathedral organ without music teaching experience, and also a local charity chosen by the will be able to use or adapt this local rural dean. So far, £2,000 has resource for all abilities and in a been raised. variety of ways. Samples of the songs can be heard at jollyfinemusic.com.

Composers in Norfolk have If you are looking for other songs or musicals for children, or have any thoughts on the series, please email avril_thompson@hotmail.co.uk. www.franklinwatts.co.uk/ historyshowtime

Canon Peter Gould’s organ pilgrimage

a President At the concert on Sunday 2 March 2014, the Norfolk Composers’ Group founded by Pat Hanchet and Kenneth Ian Hÿtch (ISM Norfolk) with Martyn Craft, Andrew Lowe Watson, David Morgan and Malcolm Robertson will welcome Michael Finnissy as their President. Michael Finnissy is an English composer and pianist. He has taught at the Royal Academy of Music, the University of Sussex, and is currently Professor of composition at the University of Southampton. He has a considerable output and has been performed all over the world and at BBC Proms.

Back in the summer of 2012, Peter Gould had the idea of touring the Derby diocese and playing all of the organs that were operable. Knowing that this would be quite a timeconsuming plan he decided to give up teaching after 38 years, but kept his position at Derby Cathedral as Master of the Music. His ambition was The concert will take place in the to play in every Anglican church with Octagon Chapel in Norwich as part of the excellent Octagon Concert Series a serviceable organ over a period of

organised for the past 30 years by Mary Rae. The group is very grateful to the concert series for providing a venue for their fourth concert – having already staged their inaugural event in June 2012.

The Norfolk-based composer Michael Finnissy will perform some of his own music and there will be music by Tim Ambler, Martyn Craft, Pat Hanchet, Kenneth Ian Hÿtch, Andrew Lowe Watson, David Morgan and Malcolm Robertson including piano pieces, songs and works for violin and piano.

The concert is in aid of the Benjamin Foundation. www.benjaminfoundation.co.uk

One Crazy Day A new book, One Crazy Day, is the story from Mozart’s Marriage of Figaro told in rhyming verse by Richard Morris and illustrated by Hatty Morris and Sayaka Takeuchi.

One Crazy Day recounts every twist and turn of the magnificent, but complex, plot in a form which captures the wit, intensity and joie de vivre of the opera itself.

Copies are available at the Royal Opera House shop and online at amazon.co.uk/dp/1490389210, priced £6.99.

All enquiries and large orders to Richard Morris at richard@richardmorris.org.uk, or call 01732 862439.

Continued overleaf

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Right: Andrew Downes

work at Menheniot Parish Church, in a concert to celebrate the 30th anniversary of the choir’s The highly respected conductor of foundation. The soprano soloist the acclaimed girls’ choir Cantamus, Pamela Cook MBE, sadly died in 2013. was the composer’s daughter, Paula Downes.

The choir, with their new conductor, Ann Irons, have commissioned a The poet and novelist Francis Brett new work from composer Andrew Young wrote a great deal of superb Downes, as a memorial to Pam. Downes poetry, and the Francis Brett Young The new work, Butterfly, will be Society commissioned Andrew to set premiered in a special concert to one of the longer ones, The Ballad celebrate Pam’s life, to take place of St Kenelm. The world premiere on Saturday 5 July 2014 at St Mary’s of the hour-long work is due to take Church, Nottingham. The poem, place at the Hagley Music Festival Butterflyy, which Andrew has set for on Wednesday 22 April 2015, with the occasion, is by DH Lawrence, further performances later in 2015.

Pam Cook’s favourite poet.

Andrew Downes

Andrew completed two further commissioned works during 2013.

The first, a setting of the Jubilate, was commissioned by the Callington Singers and their conductor Graham Williams. Based in Cornwall, the choir gave the first performance of the new

Obituary With regret, we report the deaths of: Dr John Bishop of Bristol Anne C Faulkner of Rickmansworth Valerie Ward of Egham John Whitworth of Loughborough

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Our new members We offer a warm welcome to the following members who joined before 29 November FULL MEMBERS

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

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CORPORATE MEMBERS Middlesex University Francois Evans T: 020 8411 5000 W: www.mdx.ac.uk Royal Central School of Speech and Drama Professor Gavin Henderson CBE T: 020 7722 8183 E: enquiries@cssd.ac.uk W: www.cssd.ac.uk

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How to Book: Please send advertisement copy with payment (cheques payable to the ‘Incorporated Society of Musicians’ or T: 020 7629 4413 with credit card details) to the ISM, 10 Stratford Place, London W1C 1AA or email mj@ism.org by 3 February for the March/April issue.

Private and Trade 50p per word, minimum £5.

Advertisements from ISM members are half-price (ie, 25p per word, minimum £2.50). Name, address and contact details must be paid for if included. Box numbers £2 extra. Prices include VAT. A series of six or more identical insertions qualifies for 10% discount.

FRENCH HORNS, Several (01373) 302468. www. from £150. 01747 828552 fromeaccountant.co.uk

MUSIC COPYING SERVICE. Quality printed music produced at reasonable prices. For further details contact David Turner, computer based music copyist, at 23 Overbrook, Hythe, Southampton SO45 5BE, Tel: 02380 848146, email: dfturner@ waitrose.com

STUDENT CELLOS, mostly German, various sizes, from £120. Tel. 07974 412269 NEED TO MAKE A RECORDING? Chantry Sound offers comprehensive and affordable recording services throughout Southern England and Wales. 10% discount for ISM members. www. chantrysound.co.uk or phone 01954 231117 BASSOONS several good student instruments £600-£800, 07974 412269 NEED AN ACCOUNTANT? 15% discount for ISM members. Tel:

SPINET WITTMAYER (German) 4 octaves C-D, light walnut. BGC needs tuning, hence £775. Tel: 07974 412269

Introductory offer: Buy both parts post free for £15 from info@ waterhouse-music.co.uk

A NEW DICTIONARY OF COMPOSERS is a chronological and alphabetical listing of SUCCESSFUL SIGHT over eleven hundred and SINGING A Systematic fifty composers including Approach By Gordon nationalities. Also a DIGITAL ORGAN – Viscount Pearce £10 plus £2 p&p. good way to establish Available from: 6 St John’s Cantorum 6, portable, composer anniversaries. tab stops, x-stand, cover.

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ALCM, 14 Brownhill singing. Parts 1 & 2: Keith Stent, 13 Savona Meadows, Irvinestown, £8 each from www.

Close, SW19 4HT. Northern Ireland BT94 britishkodalyacademy.

1DW. Tel: 07854 407601. org/resources.htm

♫ For Absolute Beginners to Grade 3 in seven books ♫ All instruments ♫ A lively fun approach to ---- theory learning ♫ Integrated topics ♫ Dyslexic friendly pages EPTA members read Jenny Macmillan’s review of Music Fun and the other books we publish – see the Spring 2013 (Issue 31) of Piano Professional (Pages 36 to 39).

Not an EPTA member then visit www.jennymacmillan.co.uk and click on Articles (2013, second link).

1st order: 15% discount

By Gillian Baskett ISBN: 9781902511016 P.bk, A5, 44-52pp Tinted pages

£2.80 (£2.38 with 15% discount)

shop.soundswrite.co.uk.

♫ Musicianship games and exercises--♫ Weekly practice notebooks ♫ Theory workbooks--♫ Parental help: My child won't practise!

As an ISM member you are granted an introductory 15% discount off all our titles.

In our web-shop (address above) enter ISM0114-15 in the Coupon Box on the Shopping Cart Page. UK PP&P rate per order is £1.95 2nd Class or £2.35 1st Class (reviewed April).

Tel: 07788 634847

Email: sales@soundswrite.co.uk

Note: Discount ONLY accepted for orders placed at above web sites, email, phone or post.

Through our web-shop we are happy to receive overseas orders but please use our EU or RoW book prices and PP&P rate. EU and RoW customers can still use the code above.

Sounds Write ~ www.soundswrite.co.uk

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

NEWS FROM OUR CORPORATE MEMBERS We welcome your brief news (max. 200 words) and good photographs. Please email mj@ism.org.

The next deadline for copy is 3 February for March/April issue.

The quartet was joined by three student quartets, who had prepared The International Opera Awards return different movements of the same in 2014 on Monday 7 April at the Haydn quartet. Each student Grosvenor House Hotel, Park Lane, alternated with one of the London. Nominations are now open, visiting musicians to give them anyone is permitted to nominate. an opportunity to play within a Bookings are also open so you can be professional quartet and receive there on the night itself. feedback. www.operaawards.org Violinist Elizabeth French said, ‘Having Danny Phillips as our International @THEOperaS Chair has enabled the students at the College to receive tuition from such Royal Welsh College of an inspirational man. He showed us Music & Drama that playing an instrument can just be second nature and that we can all learn from each other.’

The Opera Awards

RWCMD International Chair in Cello, Paul Watkins, was also back at the College this month giving masterclasses. Paul returns in January with the Emerson Quartet, to work with students, and to perform their first date in Wales. www.rwcmd.ac.uk

Trinity Laban Conservatoire of Music & Dance Above: Daniel Phillips, RWCMD student Elizabeth French, and David Adams Photo: Kiran Ridley

String students at the College were given the opportunity of playing in a quartet of worldclass quality when Daniel Phillips, RWCMD’s Jane Hodge Foundation International Chair in Violin, visited this month.

Trinity Laban have a new accredited professional development flexible course starting in January 2014 and applications are now open.

The Teaching Musician is a postgraduate (Level 7) programme, developed to support and recognise the skills of musicians working in music education. Designed for a Daniel was joined by Lesley Hatfield multi-national cohort, it is the only (Leader of the BBC National Orchestra accredited, postgraduate music of Wales), David Adams (Leader of the education professional development Orchestra of Welsh National Opera) programme in the UK open to and Alice Neary (The Gould Piano musicians working in any Trio) to mentor students in the Dora educational setting.

Stoutzker Hall.

The programme is for experienced music leaders, tutors, community

musicians, animateurs or any musician working in learning or participatory settings, within or outside of the UK. It is designed for practitioners looking for a sustained training programme that can be completed alongside a professional career.

Further details can be found at www.trinitylaban.ac.uk/study/ music.

Leeds College of Music November 2013 saw the conservatoire host a day-long symposium to launch a fascinating new biography on enigmatic composer André Tchaikowsky.

Classical Pathway Leader, Dr Anastasia Belina-Johnson, married detailed research with excerpts from Tchaikowsky’s own diaries to create a new picture of the man in her book A Musician Divided: André Tchaikowsky in his own Words (Toccata Press).

This autumn has also seen our scholarships fund become the main focus of our fundraising and philanthropic activities – designed to help the most talented candidates access a musical education irrespective of their financial background. Already, generous support from donors and funds sourced from a staff crowd-funding campaign, have ensured that several postgraduate tuition fee scholarships are available for September 2014 entry.

The term ahead will see us launch the International Festival of Artistic Innovation (IFAI). Combining our already highly successful international conferences, Leeds International Continued overleaf

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Technology bringing tradition to life

Viscount Classical Organs Ltd. Instruments for all budgets, settings and performers.

Tel: 01869 247 333 www.viscountorgans.net Viscount Classical Organs Ltd, Prestige House, 23 Telford Road, Bicester, Oxfordshire, OX26 4LD 26

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

We are very grateful to all our corporate members for their support.

PLATINUM CORPORATE MEMBERS

ABRSM

Charanga Highbury Grove School

GOLD CORPORATE MEMBERS

Birmingham Conservatoire Colchester Institute London College of Music Mix Music Education Music in Offices Musicguard Oxford University Press Yamaha Music Europe GmbH (UK)

NMC Recordings The Opera Awards

For further information about our different levels of corporate membership and a full list of over 100 corporate members, visit ism.org

The Royal Philharmonic Society

www.lcm.ac.uk

Making Music Bright young musicians are invited to apply for our Award for Young Concert Artists (AYCA), which is funded by a legacy from the Philip and Dorothy Green Music Trust. In April, 75 hopefuls will be auditioned, with six selected by a distinguished trio of adjudicators.

The winning artists will be promoted to Making Music members and, crucially, any engagements of AYCA winners by our members will be subsidised, thus making it possible for voluntary groups to hire the young music stars of tomorrow at an affordable rate.

15% of our members are voluntary promoters, i.e. they present concerts rather than perform in them themselves. While they may be volunteers, the artists they present

A brand new suite of four drum kit books and CDs for Grades 1-8 are now available and include exciting arrangements of classics along with newly composed pieces and exercises.

Books 1, 2 and 3 are available from your local music retailer and from Trinity’s online shop. You can preorder book 4, which will be available in January, from Trinity’s online shop now.

The popular Introducing Drum Kit, written by George Double, is still available, and takes players through the early steps of learning drum kit notation via a series of simple exercises and performance pieces.

The Royal Central School of Speech & Drama

Jazz Education Conference and the International Festival of Innovation in Music Production and Composition, IFAI will introduce elements of classical and popular music, and act as an umbrella to embrace a diverse range of music making and practiceled research.

repertoire lists. All current Trinity publications will remain valid for the length of the syllabus and technical work and supporting tests remain the same.

www.trinitycollege.co.uk are all professionals, so the promoters love booking AYCA winners. The other 85% of our members are performing British Voice Association The British Voice Association (BVA) groups, and they, too, engage AYCA winners on a regular basis, mostly as is the ‘voice for voice’ in the UK. We are presenting a multi-disciplinary soloists to perform with them.

Over the years, AYCA has been hugely training event called Irritant Issues - reflux, allergy, and the voice in valuable to many young musicians London on 12 January 2014. at the start of their careers, allowing them to build up contacts, experiment On 29 March at the RCS in Glasgow, there will be a study day on with new repertoire, and increase articulation presented by Dr Ron their confidence on stage, often in Morris under the intriguing title a more intimate setting than the My tongue goes where? traditional concert hall.

To apply, or to find out more, visit: www.makingmusic.org.uk/ayca.

www.britishvoiceassociation.org.uk

Schools Music Association

Trinity College London

The SMA celebrated its 75th Anniversary in November 2013 at the The new 2014-16 drum kit and Royal Albert Hall with a Barnardo’s percussion syllabus from Trinity Young Supporters Concert. Ocarina College London is now available to order or download from the Trinity Workshop director David Liggins website and will be valid from January led the stage group of 1270 young people and their teachers, and the 2014 to December 2016. entire audience, in a Guinness World For drum kit there is a brand new RecordTM attempt for the largest set of books containing pieces ocarina ensemble. and exercises, along with a new Ocarinas for the occasion (generously mark scheme and the introduction donated by Dudley Associates) of musical knowledge into the had been sent to the performers supporting tests (for Grades 1-5). in advance, and distributed to the For tuned percussion, snare drum audience on the night. and timpani, there are refreshed Continued overleaf

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Everyone played Ode to a Joyful New Star – an arrangement by Douglas Coombes MBE for ocarinas and organ – watched by independent witnesses Angela Ruggles (Administrator of the Music Education Council) and Adrian Mezzetti (great grandson of Ercole Mezzetti, a developer of the Italian ocarina).

A new world record was established!

It had stood at 831 participants, but the new record established that night now stands at 3,081. The concert also raised £40,000 for Barnardo’s and audience members were encouraged to re-donate the ocarinas that they had played, so that the instruments can be refurbished and re-used. www.schoolsmusic.org.uk/

Edgar Bainton (UK) Society

of Music and there developed strong musical relationships, including William G Whittaker, George Dodds and Yeaman Dodds. He became principal of the Conservatoire in 1912, continuing a large musical output.

It was Bainton’s misfortune to be arrested on the declaration of war in 1914 with his wife, Ethel, while travelling to the Bayreuth Festival; he was interned as a civilian prisoner-ofwar in Ruhleben, Berlin, while Ethel was sent home. During internment, Bainton continued a busy output and conducted the Ruhleben chorus of ‘Magpies’.

In 1934, Bainton was appointed Director of the Sydney Conservatorium of Music. While lost to the British musical mainstream, he achieved a great deal in Australia.

Helen’s biography gives a wider understanding of her father’s life; re-publication provides a reference source with photographs and a list of works.

Copies are obtainable from Edgar Bainton (UK) Society, 15 Richmond Crescent, London N1 0LZ, email philippa.john@rllj.com, priced at UK£9.99 plus p&p.

Right: Edgar Bainton in May 1934 on board RMS Comorin as it arrived in Melbourne.

Photo: Original photo taken by the Australian photographer Sam Hood. The photograph is reproduced by permission of the State Library of New South Wales.

Association of English Singers and Speakers

A new edition of a biography of composer Edgar Bainton (18801956) has been published. Entitled Remembered on Waking, it contains photographs and a comprehensive list of works alongside the original 1960 text by his daughter, Helen Bainton. Edgar Bainton was part of the flowering of English composers and performers brought together at the turn of the 19th Century by Sir Charles Stanford and Sir Hubert Parry at the Royal College of Music.

Contemporaries included Rutland Boughton, Frank Bridge, George Dyson and John Ireland.

Graham Trew writes: The AESS has enjoyed a most successful centenary year. 2013 saw a rise in membership to over 200 and a new music theatre competition to add to our three classical recital prizes.

There was also a composition competition run in conjunction with final work on the publication of the last three volumes of the A Century of English Song series.

Thank you again to all those involved in the wealth of events organised nationwide to celebrate the year.

The latest competition to take place was the 2013 Catherine Lambert Junior Recital Prize Final, held by courtesy of Miranda Francis and John Mitchell of the Royal College of Music Junior Department, in the Durrington In 1901, Bainton was appointed to the Room at the College on 23 November.

Newcastle-upon-Tyne Conservatoire

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The panel of judges, Veronica VeyseyCampbell, Jane Highfield and NicolaJane Kemp were unanimous in their awards. The winner of the £300 first prize and the £200 Marian Lines Prize was Clare Sutherland, a student of Tom Marandola at the Purcell School.

Second was Ella Garner, a student of Liza Hobbs at the Junior Royal College of Music, who won £200. Third, winning £100, was Josie Hawthorn, a student of Sara-Lois Cunningham.

Thanks are due to all our sponsors, Catherine Lambert, Coral Gould and Graham Lines and to our indefatigable co-ordinator Carolyn Richards.

Dalcroze Society An innovative partnership between the Music Centre at University of St Andrews and Dalcroze Society UK enabled 70 delegates from around Scotland and beyond to spend a lively weekend on 2-3 November experiencing Dalcroze Eurhythmics.

Practical sessions were interspersed with specialist workshops exploring applications of the work, and lectures on related topics such as Dalcroze and Music Therapy, and how young children respond naturally in movement to music.

A highlight of the partnership was St Salvator’s Chapel Choir and their conductor Thomas Wilkinson working on repertoire with Karin Greenhead.

Jenny Stewart, Senior Chorister, writes: ‘The Dalcroze workshop was extremely beneficial. It reaffirmed that a choir must act as one musical body, and the exercises gave us confidence in our own abilities as well as those of our other choir members.

It was applicable and relevant to so many areas of singing, in a solo context as well as choral.’ www.dalcroze.org.uk

Royal College of Organists Simon Williams writes: The RCO has launched a year-long programme of events to celebrate its 150th anniversary throughout 2014.

Highlights will include celebratory Choral Evensong at which the preacher will be the former

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Archbishop of Canterbury, Baron Williams of Oystermouth. The service, to be held at Southwark Cathedral on 8 March, will take place virtually 150 years to the day after the College of Organists was founded.

Throughout the year the celebrations will revolve around the exciting 150 for 150 Recital Challenge, in which organists across the country, and internationally, are being invited to take part in a celebratory recital series of at least 150 concerts.

More than 50 recitals are already confirmed, closing with a special anniversary recital featuring the restored Harrison & Harrison organ at Royal Festival Hall on 10 December 2014.

masterclass with four advanced singers from the GSAMD. In 2014, AOTOS is organising a series of regional events. These will include a day of workshops with AnneMarie Speed in Winchester, Breath Management for Singers with Dr Ron Morris in Tiverton, Devon and Teaching Contemporary Vocal Style with Kim Chandler in Birmingham. www.aotos.org.uk.

South West Music School

Association of Teachers of Singing Nicola-Jane Kemp writes: AOTOS held its Autumn Conference at St Paul’s Girls’ School, London on 3 November. The theme was From Pop to Opera, and a Centenary and began with Mary Hammond (Sondheim Professor of Musical Theatre, RAM) who spoke about her techniques working with rock and pop singers and demonstrating different possibilities with three of her talented singers from RAM. This was followed by a delightful recital from Sarah Leonard (soprano), Stephen Varcoe (baritone) and Nigel Foster (piano) demonstrating the breadth of drama, lyricism and wit in the last of the volumes of A Century of English Song. In the afternoon, the international tenor, Dennis O’Neill CBE presented a wonderful

There will be a public masterclass for singers on 28 January at Burgh House given by Teresa Cahill, and a public masterclass for pianists with Norma Fisher also at Burgh House on 11 March. Both begin at 8.05pm.

Our next Wednesday Evening Concert hosted by the club will be a cello and piano recital on 26 February at Burgh House. On 4 March there will be a vocal and Baroque instrumental evening given by members of the club which is open to the public.

For information on the club please go to http:// e-voice.org.uk/ hampstead-music-club or contact Pamela Kolirin on 020 8959 3267. www.hampstead-music-club.co.uk

To coincide with the anniversary, the College has also announced a new fundraising campaign – the RCO Anniversary Circle. The initiative aims to build a community of at least 150 new individual and corporate supporters of the College’s charitable work across education, outreach, examinations and scholarships.

For more information about the Royal College of Organists’ 150th anniversary celebrations, please visit www.rco.org.uk/150years.php

Hampstead Music Club

Music Education Solutions

SWMS would like to invite rock and pop musicians aged 8–18 years old from the south west to a specialist workshop day on Sunday 23 March 2014. The day, specifically designed for intermediate or advanced guitarists, bassists, drummers, keyboardists and singer/ songwriters, will include instrument specific surgeries, workshops and group rhythmic development work.

The SWMS rock and pop day is a fantastic opportunity to work with and learn from a selection of the UK’s prominent rock and pop specialists.

The day will be held at West Exe School, Exeter from 11am–6pm and costs just £50 per participant.

The booking deadline is Wednesday 12 March 2014.

After many years working for hubs, arts organisations and schools with internal music education training and development, Music Education Solutions have recently branched out to offer external courses directly to teachers and music professionals across the UK. We have set up course centres in London, Birmingham, Manchester, Oxfordshire and Essex, with further location expansion planned for the new year. Our first round of courses on ‘Teaching the New National Curriculum for Music’ has been extremely well received, and next term we will be continuing these in the other locations whilst also rolling out ‘Leading Singing in the Primary School’, a course which will be accompanied by a book of the same name. We are also delighted to be debuting a brand new course on creative vocal work at KS2 and KS3 at the Music Ed Expo in February. www.musiceducationsolutions.co.uk

Left: South West Music School’s rock and pop day in 2013.

Below: Music Education Solutions’ Leading Singing Course

To be sent booking information please email info@swms.org.uk.

Running alongside the rock and pop day will be a soul and classical vocal day in collaboration with the Welsh National Opera. To register your interest in this day please email info@swms.org.uk

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

LOCAL EVENTS - REPORTS Recruitment We are currently recruiting for members to act as ISM Representatives for the Croydon, West Yorkshire, Manchester and Lancaster local groups.

This opportunity is perfectly suited to members who enjoy planning or organising events and meeting other members in their local area.

For more information or an application form please call 020 7629 4413 or email membership@ism.org.

Norfolk Seminar: The Way Forward, What Next for Talented Musicians? 5 October 2013 Judy Tovey writes: Young musicians, their parents and teachers enjoyed this afternoon event. The first session began with speaker Colin Virr, Head of Aldeburgh Young Musicians. He gave us a short history of AYM which is a Centre for Advanced Training for the Eastern Region for 8–18 year old musicians of exceptional talent.

The second session was led by Nick Smart, Head of Jazz at the Royal Academy of Music. He told us about the Junior Academy Jazz Course which he set up in 2003, and stressed how important it was for young musicians to share group experiences. He also emphasized the importance of making improvisation an integral part of each lesson.

We were delighted to welcome Barry Ife, the ISM President-Elect, and Principal of the Guildhall School of Music, to our meeting. He told us of the Guildhall’s support of Centres for Young Musicians. The flagship regional centre has just opened in Norwich, working in conjunction with Norfolk Music Services, and includes choirs, ensembles, general musicianship and improvisation.

An excellent buffet meal provided a fitting end to a stimulating and informative afternoon.

Lea Valley The Orff Approach to learning and appreciating music, 22 September 2013 Carolyn Richards writes: We began with our annual meeting to update everyone with events that have happened during 2013 and about the events in 2014, the main one being a Celebration Concert on 23 March 2014 in memory of Shirley Woods, who very sadly passed away in March 2013.

Hannah Forster, from the Orff UK Committee then gave us an introduction to the Orff Approach. This approach helps children to appreciate music, individually and in class groups, in an interesting and colourful way.

Devon & Cornwall

Hannah had us clapping, creating different sounds by tapping different parts of our bodies, making various vocal sounds connected with using the imagination when looking at vibrant or interesting pictures and paintings. All the musicians present enjoyed taking part in the different groups. A very uplifting afternoon.

Annual meeting and lunch, 5 October 2013

Autumn Concert, 20 October 2013

Peter Nickol writes: Just short of twenty people gathered at Dunsford Village Hall for Devon & Cornwall’s annual meeting with lunch, guest speaker and music. We were especially pleased to welcome Laura Hollands from the staff team.

Anne Hodges writes: The annual advanced pupils’ concert was as always a delightful afternoon of music-making.

We had violin, piano and guitar pieces by Grieg, Mozart, Schubert, Villa-Lobos, Sarasate and others. All the performers were well prepared and allowed the music to flow and speak to the audience.

Devon & Cornwall members have expressed a wish that a committee-type structure that has served them well for many years should continue, though less formally constituted than before. There was praise and thanks for the outgoing chairman, Margaret Chave, who is now succeeded by Margaret Aagesen Hughes with the continuing able support of secretary/treasurer Carolyn Harries.

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Following a buffet lunch at the nearby Walled Garden restaurant, we reassembled for Paul Vincent’s illuminating and thoughtful talk on his grandfather, the composer Thomas Dunhill. Impressively, six musicians were on hand to provide illustrations: Margaret C, Margaret H, Carolyn, Colynne Brooks, Christine Marsden and Philip Bonser. Following the final item – Dunhill’s Phantasy Suite for clarinet and piano – we were treated to a further round of refreshments including delicious homemade cakes.

It is always refreshing to hear young performers playing together and it was clear to the audience they found the experience rewarding. We look forward to hearing more of our young performers at future concerts and watching their musical progress.

ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

LOCAL EVENTS - LISTINGS Full listings can be found on our website, ism.org

Sunday 5 January 2014

BRIGHTON New Year Luncheon 1pm, The Old Tollgate Restaurant, Bramber, West Sussex Our 17th visit to The Old Tollgate Restaurant for this ever-popular social event.

Contact Shirley Linford, 01903 783692

Sunday 19 January

WEST LONDON Annual Meeting with guest speakers 2pm, Lawrence Hall, London College of Music, University of West London, Saint Mary’s Road, London W5 5RF

Our ISM President, Richard Hallam MBE, will be talking about music in education and Lucy Innes will talk on choral conducting. Drinks will be available in the bar at the end of the session. This is a good opportunity to meet other local members and network.

Contact Ivor Flint, 020 8968 9605, ivor.flint@virgin.net

Sunday 2 February

BRISTOL Pupils’ Concert 3pm, Joseph Cooper Music School, Clifton College, BS8 3EZ For pupils of Grade 1 to Grade 5 standard.

Admission: £5 adults, £2.50 children of school age, £10 family ticket Contact Andrea Argent, 01275 875262, andrea.argent@hotmail.co.uk

Sunday 9 February

BRISTOL Pupils’ Concert 3pm, Joseph Cooper Music School, Clifton College, BS8 3EZ For pupils of Grade 6 standard and above.

Admission: £5 adults, £2.50 children of school age, £10 family ticket Contact Andrea Argent, 01275 875262, andrea.argent@hotmail.co.uk

Sunday 23 February

BRIGHTON Pupils’ Concert 2.30pm, Croft Hall, Burgess Hill School RH15 0EG Singers and instrumentalists of all ages and stages welcome.

Contact: Geraldine Rowland, 01273 493889

Sunday 23 March

LEA VALLEY Charity Memorial Concert 2.30pm, Old Harlow, Essex CM17 0AJ In memory of Shirley Woods.

Contact Carolyn Richards, 07768 086123, ismleavalley@ntlworld.com

Your local groups update As you know, we have been gathering feedback from local groups for many years. This feedback helped to inform the creation of a more flexible approach for local groups, implemented in 2012. This new approach was designed to offer local groups more administrative support, more flexibility around the number of representatives needed to set-up a group, and more flexibility around the delivery of events.

Over the past year, I have visited 11 local groups to talk further about this more flexible system and during the course of these visits, it became clear that each group has very different needs. With this in mind, the purpose of my visits now is to help local groups come up with a model which works for them so that they can focus on the delivery of events.

I am now working with local groups to create an even more flexible way of working to suit the needs of each group.

This means that local groups can benefit from either the older or new system, or combine elements of the two. In short, if a local group wants to continue with its current set-up then there is no reason why this cannot happen, if that is best for the group.

To ensure the groups flourish into the future it is important that we continue to work with all members. To facilitate further discussion a local group forum will be held at our upcoming AGM on Thursday 24 April 2014. The Society recognises the importance of local groups as they not only bring members together but can also encourage new members to join. With these aims in place, we want to make sure that each local group is as stable and successful as possible.

If you have any suggestions or queries regarding local groups please do contact me. Your views are welcome and help us to establish successful and thriving groups.

Natalia Fenyoe, Director of Membership Services & Business Development natalia.fenyoe@ism.org T: 020 7079 1218

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ISM MUSIC JOURNAL JANUARY/FEBRUARY 2014

Ask me a question Ruth Hopkins Classical soprano, music director, workshop leader and teacher

Who were the people who most influenced you, and how?

Two people had a big musical influence on me. First, the director of my flute choir whilst at school. He would make rehearsals exciting through encouraging experimentation with extended instrumental techniques and taking musical risks with interpretation. Fun was always at the heart of both our rehearsals and performances, and everyone enjoyed it. I learned a lot from his approach.

have a busy year performing at festivals and music clubs across the UK as well as at the Cadogan Hall’s Culford Room and Kings Place. We are also planning a tour to Europe.

What is your favourite venue to perform at?

Next, was the director of the Chapel Choir at Oxford, who happened to be female.

There are far fewer female directors than male in the industry and she was one of the most creative and interesting people to sing under early in my career. Her attitude towards the industry encouraged me to start directing a flute choir and recorder group while I was still a student.

St Endellion Church in Cornwall. Since my first performance at the Festival, it has always seemed a magical place. The setting is tranquil and remote yet provides a leading festival of music. Performing large-scale oratorio and operatic works in such an intimate setting is a unique experience.

Tell us a little about yourself.

I started life as an instrumentalist studying violin, flute and piano to grade 8 as well as singing. When I studied music at Somerville College Oxford, I became a Choral Scholar and singing became my focus. During my MMus at Royal, I was awarded the Dame Felicity Lott Bursary to study voice at postgraduate level in London and Birmingham, where I won several competitions and founded K’antu Ensemble.

In addition to early music, I perform opera, oratorio and lieder recitals. I also work closely with composers premiering new works.

Who is your all-time favourite artist and why?

What they had in common was an approach to music which was not weighed down by tradition. They clearly loved what they did and had the confidence to make bold musical decisions, and this has fed into my approach to K’antu Ensemble.

Dawn Upshaw – I love her voice and she has had a varied career performing wideranging and often challenging repertoire.

What is the most embarrassing thing that has happened to you as a performer?

What would you say is your greatest achievement to date?

I was performing Purcell’s Bess of Bedlam in a student concert and thought my harpsichordist was still onstage from the previous student, so I started walking on to find that he wasn’t there. I had to keep going because the audience had seen me but I had no idea how this was going to resolve itself, as the harpsichordist hadn’t seen me and went off the other side of the stage to find me. Fortunately, I was singing Mad Bess, so I did this all in character and the audience thought it was part of the act.

K’antu Ensemble – I’ve always liked the idea of forming a group of multiinstrumentalists to showcase their skills.

Since the group finished at music college this year, we have had rapid success. It is lovely to be performing with an ensemble that gets such a positive response from audiences.

What do you find most valuable from your ISM membership?

What are your plans for the future with the K’antu Ensemble?

Being able to phone up for professional advice from someone who understands the industry.

After the success of our debut CD, Gusto, we are starting to plan our second. We

www.kantu-ensemble.co.uk

e 2014 ISM Conferenc be held erence will Our annual conf nservatoire on Co am at Birmingh .

14 20 ril Ap 16 –17 of the date in te no a e ak m Please now. your ISM diary rmation, visit fo in For further rence ism.org/confe

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You can now keep up to date with o news, camp ur latest aigns and e v ents on Fac Twitter and ebook , LinkedIn: Incorporate d Society of Musicians ISM_Music Incorporate d Society of Musicians

Sound-isolating practice rooms

EDUCATION > HOME > RECORDING

Having enough space to practise is often an issue in music departments; our modular, relocatable Music Practice Rooms provide an excellent solution to this problem.

Each module offers an individual space for solo or ensemble practice, whilst providing an effective acoustic barrier to avoid disturbing other classrooms.

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Head of Music at Lancaster and Morecambe College, Pete French, was delighted with the new sound-isolating practice rooms installed by Black Cat Music: “The facility used to be a lecture theatre. It was just one space we could use; now we’ve got three spaces. The modules are being used every day with all three year groups time tabled in, so they are getting maximum use.”

The rooms, from MusicPracticeRooms.com, use a prefabricated panel design that is affordable, easy to install and allows rooms to be custom configured to suit available space. “We are very happy having them here,” continued Pete French.

“The music practice rooms have changed the whole nature of the course, because they are so sound-proofed. The students love them and yes, they work very effectively.”

To watch the video of this interview scan here or go to youtube.com/musicpracticerooms

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Pete French - Head of Music, Lancaster and Morecambe College

Brought to you by

5LE

“The Music Practice Rooms have changed the whole nature of the course, because they are so sound-proofed.

The students love them and yes, they work very effectively.”

Get in touch

Telephone: 0844 846 9740 www.musicpracticerooms.com

2 A B ACH BOOK

NEW

LEONARD BORWICK HARRIET COHEN GERALD M. COOPER

for Harriet Cohen

NORAH DREWETT DE KRESZ

With an introduction by David Owen Norris

HUBERT J. FOSS WILLIAM H. HARRIS

A reissue of the iconic 1932 publication of twelve Bach transcriptions prepared for the celebrated pianist, Harriet Cohen

MYRA HESS EDWARD KRISH HERBERT MURRILL

£13.50

DOROTHEA SALMON WILLIAM G.WHITTAKER

GRANVILLE BANTOCK ARNOLD BAX LORD BERNERS ARTHUR BLISS FRANK BRIDGE EUGENE GOOSSENS HERBERT HOWELLS JOHN IRELAND CONSTANT LAMBERT RALPH VAUGHAN WILLIAMS WILLIAM WALTON WILLIAM G.WHITTAKER

NEW B ACH TRANSCRIPTIONS Compiled and edited by Michael Aston Seventeen early twentieth-century arrangements from choral and instrumental works by notable British musical figures £15.50

Available from music shops or +44 (0)1536 452630, email music.orders.uk@oup.com

2

New Fiddle Time editions

www.oup.com/uk/music

by Kathy and David Blackwell WITH CDs

NEW EDITIONS

The new editions contain all your favourite pieces from the original books, back by popular demand.

Plus:

◆ a modern, fresh design ◆ five brand new pieces in Runners ◆ exciting new play-along CDs for Joggers and Runners, with Fiddle Time Joggers + CD

Fiddle Time Runners + CD

Fiddle Time Sprinters + CD

£8.25 each NEW TITLES

Fiddle Time Joggers violin accompaniment book Fiddle Time Runners violin accompaniment book Fiddle Time Sprinters violin accompaniment book Violin duet parts for a teacher or more advanced student

£5.95 each

◆ ◆ ◆

multi-instrumental backings additional ‘practice speed’ (slower) play-along tracks backing tracks available from the OUP website fantastic new cover illustrations and new colour cartoons throughout Joggers and Runners

Fiddle Time stickers These witty stickers in packs of 6 sheets are great fun and a useful tool for teachers.

£2.99 Available from music shops or +44 (0)1536 452630, email music.orders.uk@oup.com